Unsent note to Acorn Ltd
(1987)
Scan from postcard. ORAM/2/012.
© Daphne Oram Trust, Goldsmiths Special Collections.
List of inks & pencils tested for drawing waveshapes on film for Oramics
(circa 1970)
Scan from manuscripts. ORAM/1/5/053.
© Daphne Oram Trust, Goldsmiths Special Collections.
With apologies to Helmholtz
(29/011993)
Scan from manuscript. Part of ORAM/2/009.
© Daphne Oram Trust, Goldsmiths Special Collections.
Reactance Frequency Chart from Tower Folly Studio
(circa 1960)
Scan from manuscript. ORAM/1/5/138.
© Daphne Oram Trust, Goldsmiths Special Collections.
Letter from Yehudi Menuhin to Daphne Oram
(written by Yehudi Menuhin on 29th December, 1960)
Scan from manuscript. ORAM/1/1/019.
© Daphne Oram Trust, Goldsmiths Special Collections.
Typed excerpt from ‘New Atlantis’ by Francis Bacon
(published in English in 1627 and recopied by Daphne Oram on 2nd April 1960)
Over fifteen different copies of this text (both typed and hand-written) can be found within the archive, spanning the whole of Oram’s lifetime.
Scan from manuscript. ORAM/6/1/001.
© Daphne Oram Trust, Goldsmiths Special Collections.
Advert for VCS3 synthesiser (1963)
Scan from transparency.
ORAM/7/6/007.
Contents sheet from Daphne Oram’s research surrounding her manuscript ‘The Sound of the Past – A Resonating Speculation’ (ca 1979).
ORAM/6/1/052.
© Daphne Oram Trust, Goldsmiths Special Collections.
‘Bobrowski’s sculpture, ‘Nucleus’, occupies a corner of its own, where it can be seen to its greatest effect by passers-by in the street.
Its design suggesting the dependence of the electronics industry upon atomic science, ‘Nucleus’ revolves in a changing pattern of lighting to the accompaniment of electronic music entitled Episode Metallic’ composed for the work by Daphne Oram. Although the sculpture revolves continuously, the dynamic lighting (also ‘scored’ by Miss Oram) and the music form a self-contained presentation switched on by visitors interrupting an invisible infra-red beam as they approach the sculpture. The combination and sequence of music and light is controlled by a ‘programme’ recorded on magnetic tape.’
Excerpt from page 3 of the press release for the opening of the Mullard Electronics Centre and installation of ‘Nucleus Sculpture’ by Andrew Bobrowski and Daphne Oram, 2nd of December 1965.
ORAM/6/6/040.
‘Trindad and Tobago carnival goer’ (1964)
Oram visited the carnival with her mother as part of the research and recording progress for Geoffrey Jones’ 1964 film ‘Trinidad and Tobago’.
Photograph taken using a Kodak Bantam Colorsnap Camera.
Scan from transparency. ORAM/7/8/027.
© Daphne Oram Trust, Goldsmiths Special Collections.
